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Tuesday, February 07, 2012

Fishman Unveils Triple Play Wireless Guitar Controller

The new Fishman Triple Play Wireless Guitar Controller combines guitar with any virtual instrument or hardware synthesizer to access a wide range of instruments, samples and sounds on stage to expand the depth and impact of live performances.

Triple Play comes with a wireless controller, hexaphonic pickup, and wireless USB receiver. The controller and included software works with industry standard DAWs and vitual instruments and installs quickly on any electric guitar. The system can be easily removed from the guitar because it doesn’t require any permanent installation.

The Triple Play system features several “hold” functions such as sustain, looping, and arpeggiators, along with string or fret splits for multiple instruments.

Also included are menu navigation controls for the included software and a guitar synthesizer volume control. A guitar, mix, synth switch is easily accessible during performances.

A low profile design (less than .5-inch) allows the controller to be left on the guitar and still fit in the case. It operates with a rechargeable Lithium Ion battery (included).

Triple Play’s powered USB wireless receiver interfaces with computers or iOS devices. The system comes with a comprehensive Windows, OSX and iOS software bundle to get users started.

A Triple Play Wireless Guitar Expander option provides additional connectivity for interfacing wireless MIDI signals to computers or iOS devices. It adds a full function USB audio interface with guitar input, bypass and headphone output, MIDI hardware IN and OUT and support for footswitches to extend Triple Play’s capabilities for recording, performing or composing music.

The new Triple Play Wireless Guitar Controller is scheduled for release in June 2012.

Fishman

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Thursday, February 02, 2012

DI Boxes For Guitars: Different Approaches For Acoustic And Electric

There are varying factors in play, depending upon the type of instrument...

When amplifying an acoustic guitar, the use of a microphone can lead to concerns about feedback as well as being able to adequately amplify the instrument.

With electric guitars, there are also concerns about the microphone adequately and accurately picking up the sound from the guitar amp, and in many cases, there’s also a desire for a quieter stage.

Both scenarios lead to the use of direct (or DI) boxes as an alternative.

But note that when selecting a direct box, the choice is very different when dealing with acoustic versus electric guitars.

The Acoustic Take
Most acoustic guitars are either equipped with a built-in piezo pickup with an on-board active preamp, or they can be outfitted with an after-market magnetic pickup that fits inside the sound hole.

The high-impedance output from the instrument is then sent to a direct box where the signal is balanced and the impedance is lowered to enable it to be sent a long distance without noise.

A typical direct box is equipped with a “thru” connector that is used to feed the artist’s stage amp, while the balance low-impedance XLR output feeds the sound system. 

The traditional approach to using a direct box is to capture the signal right from the instrument before it is processed on stage by the musician. The thru output going to the stage amp allows the artist to adjust the EQ or add echo to suit his personal needs on stage.

At the same time, this setup enables the front of house engineer to add reverb or coloration to suit the room without having to try to compensate for the effects added by the musician.

As noted, eliminating feedback on stage is a primary concern. Some DI boxes are equipped with a built-in high-pass filter that can reduce unwanted low-frequency resonance that often leads to feedback. This also reduces the energy content, resulting in greater headroom. More headroom means less distortion – another common cause of feedback.

Reversing the polarity at the DI output can also be very helpful as this changes the phase relationship between the sound coming from the system and the sound coming from monitoring system on stage. By electronically “moving” the acoustic peak so that it becomes a valley, hotspots that can cause resonant feedback can be eliminated.

Best of all, because these fixes do not involve using EQ to fight feedback, the instrument’s tone is not negatively impacted.

The Electric Take
Particularly since the advent of in-ear monitors, guitarists have become much more aware of the sound from their amps.

Before IEM, when they played guitar on stage, they were listing to their amps.

Today, they hear what the mic is picking up, and more often than not, they’re realizing that the sound doesn’t match up real well when compared with what they hear coming from their amp.

This makes sense. When a mic is placed right in front of a loudspeaker, a tremendous amount of effort is required by the sound engineer to make it sound “good/right.” Move the mic just a centimeter and the sound can change.

Further, as you go to different venues, the sound once again is subject to change do to a variety of variables. This includes different room acoustics, proximity and bleed from other instruments, the effect of stage resonance, and of course, mic placement.

However, using a traditional direct box in front of the amp does not work. The guitar sound needs to be captured after it has been processed by the amp.

And as any sound engineer can attest, simply placing a regular direct box with a pad at the output tends to sound like a swarm of bees. The requirement is to replicate the sound of both the amp and the cabinet.

Recent advances have allowed engineers to develop new direct boxes that employ advanced filtering to better replicate the sound. And by employing the loudspeaker as a reactive load, the sound coming from the direct box tends to be much more realistic.

The benefits to using a guitar amp direct box – correctly - can be significant. For the artist that is using in-ear monitors, the audio engineer can program the mixer and effects for tremendous consistency night after night.  This means sound checks can be done quicker.

And when the artist is comfortable and happy, it generally results a better performance. For the sound engineer, the starting point is immediately familiar, which eliminates “fighting” the mix for the first several songs.

The quality of a mix starts with the sources, and delivering a better mix improves the show for the audience.

Peter Janis is the president of Radial Engineering (www.radialeng.com) and has worked in professional audio for more than 30 years.

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Tuesday, January 31, 2012

Potawatomi Bingo Casino’s Big Payoff With DiGiCo Upgrade

Earlier this year, the staff of Milwaukee’s Northern Lights Theater at Potawatomi Bingo Casino decided to embark on a console upgrade in its intimate, 500-seat theater. Production manager Jamie Cobb called upon Kerry Miller and the integration team at Clearwing Productions to help.

Wanting to upgrade the sound and make the move to digital, the group collaborated on selecting a DiGiCo SD10 and SD Rack at FOH—handling the basic room feeds (L, R, balcony, and subs), hearing assist, green room feed and CD record—with a second SD10 on deck at monitor world. The payoff was an amazing-sounding system that better showcased the room’s warm, intimate acoustics.

“We wanted a console that was forward-thinking as far as digital technology,” explained Cobb, “with better A-to-D converters and an overall better sound quality than what was out there at this price point. I’d had experience working on a DiGiCo D5 in the past, and saw the SD10s deployed this summer at a local music festival, as well as noticing DiGiCo products featured in publications with the top touring artists and spec’d by leading engineers.

“For that reason, we thought it was the best choice for this install and offered a substantially better system than other theaters in this area. There was no comparison to what we’d used previously… it was like taking a blanket off the PA! DiGiCo has developed another layer of sonic quality that wasn’t there before and we are reaping the benefits.”

Once in place, the theater’s sound technicians found the SD10’s ease of use and unequivocal sound quality among the console’s most impressive features.

“A musical equalizer is a must, but ease-of-use is really the big one,” said Cobb. “If a visiting engineer is frustrated by the work surface, then all the features serve no good purpose. The SD10’s control surface has the flexibility to be laid out exactly the way a visiting engineer would want, and we’ve been able to show these engineers how to use the features of the soundboard so they’ll be able to get up and running quickly for their show.”

The first major, long-term production to employ the new system was Cheap Trick, who reprised their “Dream Police” show for a second time in 2011 at the venue—the first in January/February and more recently in October/November.

The multimedia opus featured a performance of the platinum-selling Dream Police album in its entirety, followed by hits from their extensive catalog—accompanied by the 18-piece Rhythmic Noise Philharmonic Orchestra, the 4-piece men’s Mind Choir, and state-of-the-art video. The production came to fruition through collaboration with production designer Butch Allen (Paul McCartney, Metallica, No Doubt), producer Bello Nock and world-class video and film director Jim Yukich.

For the Fall run of shows, the theater’s sound technicians operated FOH production alongside the band’s analog-driven production team—longtime engineer Bill Kozy and A2 Mark Gustafson—who teamed a Midas 3000 at FOH for mixing the band along with the new DiGiCo SD10 to handle orchestra and additional playback feeds.

With a very short setup/rehearsal schedule of only a few days—and a massive number of inputs to coordinate for the band, an 18-piece orchestra, 4-man choir, guest artists and multimedia sources—the guys were able to get in sync quickly.

“With myself quarterbacking from the analog console and Mark running the SD10, it was important that we were both on the same page right away,” Kozy explained. “We did a training seminar with Matt Larson from DiGiCo before the actual load-in and the console sounded great and was easy to get our hands-on quickly, which was very important. I was impressed with how easy it was to implement the console given the tight schedule we were on; we really didn’t have time for a steep learning curve.

“We literally were building a show, preparing the stage and basically starting rehearsals all within a couple of days of the first show. I was able to take about 40 inputs from the analog console of the band’s inputs and create 3 stereo stems and a mono vocal stem that was fed to the DiGiCo, which served as the show’s main mixing production hub with Mark at the controls.

“He would bring in my stems, all the audio/video feeds, the orchestra, the men’s chorus, and then assemble them, about 30-40 inputs in total, in the DiGiCo. The STEM sounded great and had a lot of headroom, so all the analog stuff sounded awesome and it was really easy to hit the ground running using the DiGiCo. As far as the drum compression and processing, the DiGiCo really kept the Midas sound in tact… and the sound of the SD10 was really transparent.”

“With the band being a primarily analog band, the DiGiCo had wonderfully analog user-friendly aspects that my brain could comprehend,” Gustafson added. “I’ve used other digital consoles and consider myself to be tech-savvy in that sense and the SD10 didn’t feel foreign to me; the technology didn’t get in the way, it only enhanced the experience.

“Handling nearly 40 inputs, I was able to use the local I/O, which was very handy. I thought the onboard effects were quite nice, and although we had the option to use outboard gear we didn’t need to because everything was right there and sounded great. My favorite feature was the Gain Tracking with digital trim, which seems very silly but working with two consoles sharing the new SD Rack made things incredibly fast. Working with an 18-piece orchestra, you can imagine the soundcheck for that… it was hairy!

“Bill and I were able to work together on the main gain structure and then do our own separate things without touching or restricting each other’s boundaries. Earlier in the year we did the show with another consoles and with this new setup, DiGiCo’s flexibility enabled us to cut down our setup time. Even the string players, many of whom were on the last show, were astounded at how fast we were able to get them up and running.”

After the close of ‘Dream Police’, the theater seamlessly moved on to host productions with Kenny Loggins, Air Supply, Lee Greenwood, Smokey Robinson, Jon Anderson/Rick Wakeman and the Tubes with great reviews.

“The Cheap Trick engineers loved the new DiGiCo consoles and the increased detail to the room,” summed Cobb. “I have to also say that the consoles—coupled with the L-Acoustics DV-Dosc 4-way stereo array system—offered a sound quality that was simply amazing in our intimate theater.”

DiGiCo

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Tuesday, January 24, 2012

Radial Engineering Announces The New Firefly Tube Direct Box

Radial Engineering has introduced the Firefly tube direct box, a fully discrete class-A unity gain amplifier designed for both studio and live performance.

Radial company president Peter Janis explains: “We have always wanted to launch a tube DI to round out our product range. But over the past two years, we have been sidetracked as we developed the Workhorse and our many 500 series modules. We finally got back on this project and are pleased to bring the Firefly DI to market.”

The Firefly begins with two inputs, each of which features a separate level control to enable the artist to set each instrument with optimal gain.

Switching between inputs can be can be done using the front panel switch or via the optional JR2 remote footswitch. The instrument signal is immediately routed to a tuner output that is always on.

When used with the JR2 footswitch, the Firefly may also be muted remotely for quiet on-stage tuning. Both the footswitch and front panel are equipped with LED indicators for status monitoring.

Following the Radial JDV, the Firefly’s front end circuit is 100 percent discrete class-A and is void of any circuit stabilizing negative feedback. This produces a more open, less constricted sound. 

The Firefly is also equipped with Drag Control load correction that enables the artist to adjust the load on the magnetic pickup for a much more natural rendering. When bypassed, the load jumps to 4 meg-ohms enabling the Firefly to be used with piezo pickups such as common with upright bass and other acoustic instruments.

The exceptional warmth and detail is achieved by combining Radial’s unique front end with an all new12AX7 tube drive circuit. Contrasting the input sensitivity with the output drive enables the artist to fine tune the grit or edge to give the sound more character. 

Firefly comes shipps with two 12AX7 tubes, a select premium tube for audiophile performance and a low-fi version for added growl.

A fully variable high-pass filter enables the engineer to set the bass cut-off frequency for optimal layering. This ‘Nashville trick’ lets you set the cut-off to better match the size of the instrument whereby a lower cut-off would be used on contrabass, slightly higher on acoustic and higher again on fiddle or mandolin. By setting a different cut-off for each instrument one can eliminate resonance while still retaining the character.

Connectivity is extensive: The rear panel begins with two stacked 1/4-inch instrument inputs. A second set of stacked 1/4-inch jacks presents the user with a buffered thru-put that delivers either the original instrument’s tone or the output from the tube circuit.

Below, an insert jack enables one to add in effects in series with the tube drive circuit and apply the effects to the overall sound.

The third set of stacked jacks feature a tuner output and a TRS jack for the JR2 remote control. The Radial transformer coupled XLR output is outfitted with a ground lift switch and a 180-degree polarity reverse. This can be helpful when controlling feedback or interfacing with older vintage gear.

Power is supplied via an exterior switching supply for 100- to 240-volt operation and delivers a variable output that ranges from a typical unity gain DI level to a full +4 dB line level for direct recording.

The Firefly is road ready with 14 gauge steel construction plus a protective zone around the controls and switches. This is augmented with steel cased switches and potentiometers plus a double sided military grade PCB for added life.

The Firefly comes with a carry handle that may be removed should rack mounting be needed for touring using optional rack-mount kits.

Radial Engineering

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Sony Expands MDR-7500 Series Professional Headphone Series

At the NAMM 2012 Show, Sony Electronics unveiled the expansion of its MDR-7500 Series professional headphones with two new studio headphones (MDR-7520 and MDR-7510) and one in-ear system (MDR-7550).

Designed to accurately monitor the wide dynamic range and extended frequencies delivered by modern digital audio equipment, the new models in the series are precision-manufactured using the highest grade materials such as gold-plated Unimatch 3.5mm/6.3mm adaptors.

“The need for feature-rich, high-performance headphones in the studio and on stage is nothing new, but the latest 7500 Series headphones from Sony combine quality materials and world-class design to deliver excellent sound,” says Karl Kussmaul, senior product manager, Professional Audio, Sony Electronics. “Our expanded line offers pros a wider selection of monitoring options whether for reference, live performances or recording.”

The MDR-7550 in-ear monitors (IEM) are engineered for musicians to use during live performances. With its large caliber (16mm) dynamic drivers these earphones offer a wide dynamic range with accurate sound reproduction.

With a unique multi-layer diaphragm and flexible ear hanger, the 7550 easily folds and maintains its shape ensuring a superior fit of the hybrid silicone/rubber earbuds.

Meanwhile, the new MDR-7520 studio headphones utilize ultra wideband 50mm HD driver units and liquid crystal polymer film diaphragms for improved durability and unparalleled sound quality.

The 7520’s noise isolation earpad cushions conform to the natural shape of the ear for comfort and high acoustic isolation. The housing is constructed of a lightweight magnesium alloy to increase comfort, reduce fatigue and prevent unnecessary vibration.

The new MDR-7510 studio headphones are a solid choice for reference monitoring,with their 50mm drivers and PET (polyethylene terephthalate) diaphragms providing a wide frequency response, broad dynamic range and accurate sound playback.

The 7510 uses neodymium magnets and OFC (oxygen free cooper) voice coils to deliver high-performance.
All models are planned to be available in March of 2011.

Sony

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Thursday, January 19, 2012

Aviom Introduces Pro16 Personal Mixing Systems

Aviom is pleased to announce a series of Pro16® Personal Mixing Systems, debuting at the 2012 NAMM Show, Booth 6720, Hall A.

These systems feature the perfect mix of gear that most performers or groups require on stage or in the studio. Now available are the MIX1, MIX4, MIX6, MIX6Y, MIXSP, and MIXMZ systems. The MIX1 One-Mix Personal Mixing System features one A-16II Personal Mixer, one AN-16/i Input Module and one MT-1 Mic Stand Mount.

Users can connect the AN-16/i to a console, mount the A-16II to a mic stand with the MT-1, connect the input module to the personal mixer with the included Cat-5 cable, and they’re ready to go with a one-person personal mixing system – perfect for the musician who is ready to lose the wedge and move to a personal mixing system without waiting for the rest of the band to do so.

The MIX4 Four-Mix Personal Mixing System and MIX6 Six-Mix Personal Mixing System offer four and six A-16II Personal Mixers and MT-1 Mic Stand Mounts respectively. These packages also include Aviom’s A-16D Pro A-Net Distributor, which distributes both audio and power to the personal mixers over the included Cat-5 cables. With each of these systems, users receive all the components to set up an entire system for a band.

The MIX6Y Six-Mix Personal Mixing System for Yamaha offers the same components but includes an Aviom16/o-Y1 A-Net Card instead of the analog input module so users can connect directly to a Yamaha console.

The MIXSP Standalone Personal Mixing System and MIXMZ Multi-Zone Personal Mixing System are designed for more unique user situations and requirements. The MIXSP is a standalone package that comes complete with an Aviom AN-16/i-M Mic Input Module, that allows traveling bands to work independently of the console and sound engineer at a given venue. The MIXMZ is a multi-zoned system designed to introduce more channels into the system but that still keeps it simple for musicians to use.

All Aviom systems harness the power of A-Net, Aviom’s innovative digital audio technology that simplifies system design while enhancing flexibility and fidelity.

Aviom

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Wednesday, January 18, 2012

Behringer Introduces Revolutionary iPad Mixers

Just in time for the 2012 NAMM Show, Behringer unveils three small format premium mixers that directly interface with the ever-popular iPad. Drawing on the power of the most ubiquitous mobile digital device, the XENYX iX Series mixers are designed to handle live performance and provide state-of-the-art tools to create professional recordings. Users can also sync performances to video by utilizing the iPad‘s video out capability.

The new XENYX iX Series, which include the XENYX iX3242USB, iX2442USB and iX1642USB, feature a built-in iPad docking station designed to send signal to and from the iPad with a wide range of routing options.

The innovative feature set included in the new XENYX iX Series USB mixers makes it possible to record and mix on a professional level thanks to the built-in, stereo USB audio interface. Connect these mixers directly to a PC or Mac computer via a single USB cable to record any signal source connected to the mixer.

All iX mixers include the new dual-engine Klark-Teknik FX processor with 32 editable, studio-grade presets such as reverb, chorus, flange, delay, pitch shifter and multi-effects. In addition to literally thousands of apps, the iX mixers use the iPad to control the new Klark-Teknik FX Processor App, enhancing the mix by allowing the user deep control of EQ’s, compressors and reverbs and a full spectrum analyzer.

The iX series mixers also feature high performance XENYX mic pre amps, which represent a major step in the evolution of audio technology.

Comparable to far more expensive, stand-alone mic preamps, XENYX preamps offer a staggering 130 dB of dynamic range, with a bandwidth that extends from below 10 Hz to 200 kHz for transparent, crystal-clear performance.

XENYX mixers’ 3-band channel EQ is based on the same circuitry used in British consoles that allows users to create signals with incredible warmth and detailed musical character. Additionally, “one-knob” compression is available on all mono channels. Dial in the perfect amount of compression for instruments and vocals, creating powerful mixes with punch and clarity.

“The new XENYX iX mixers demonstrate the innovation that stems from our massive investment in Research and Development, says Mark Wilder, VP of Marketing Communications. “These are the first of many more ground-breaking products to be announced at NAMM 2012.”

Behringer

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Monday, January 16, 2012

Mike Garl Named President & General Manager Of TOMCAT

TOMCATTOMCAT has announced that Mike Garl has joined the TOMCAT team as president and general manager, where he will be responsible for all the day-to-day activities at TOMCAT. 

Garl, who previously was president and managing partner at James Thomas Engineering, studied at the Pasadena Playhouse and Carnegie-Mellon University, where he earned a degree from the School of Drama in 1972.

He also served as a technical director, lighting designer and sound designer during college, and spent five years as the lighting designer and technical director for the summer seasons of Opera Barga in Barga (Lucca) Italy.

After graduation, Garl worked at the University of Rochester and joined the faculty in the theatre department at the University of Tennessee-Knoxville. Prior to helping establish James Thomas Engineering in the U.S., he spent five years with Holiday on Ice as sound engineer, master electrician and lighting designer/director.

Garl has been a member of the PLASA (formerly ESTA) Technical Standards Council since its inception in 1994, serving as its chairman since 2005. He is the past chairman of the Rigging Working Group and is an active member of the E1.2 and E1.21 Task Groups. As a result of his dedication to the organization, Garl received the ESTA Eva Swan Award in 2001.

“I am very excited about the new professional journey ahead of me and the opportunity to work with a company that has the history and pedigree of TOMCAT,” says Garl. “I believe the future is very bright for TOMCAT and the other Vitec Group Staging Systems brands, Litec and Brilliant Stages. I’m delighted to join the exceptional international management team to continue leading the strong brand and dedicated team forward, furthering the tradition of product innovation, quality and customer service.”

“We are very pleased to welcome Mike to our team and confident his far-reaching experience, knowledge and expertise will enable him to lead TOMCAT in serving the demanding needs and expectations of our worldwide customers,” states Stefano Rosellini, managing director of the Vitec Group Staging Systems Business Unit. “Regardless of the project, TOMCAT is committed to providing the most innovative products and solutions to serve our customers. To make that happen, we only bring the best people on board.”

TOMCAT
Vitec Group

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Reamping For Live? A Method Of Improving Electric Guitar Performance

Focusing on making the guitar wireless system sound smoother and more natural

The majority of electric guitar players will tell you that they much prefer the sound of “hard-wired” guitars versus going wireless.

When you “radio” a signal, there is not only a sense of disconnect, but the tone never seems quite right.

I noticed this years ago when testing a guitar splitter. One of our engineers sent me a prototype, and after a few minutes of testing, I called him up and said that it worked well but was not quite right.

He said, “what do you mean? It is class-A, 100 percent discrete, and has Jensen transformers. It’s perfect!” I replied that while it might be technically perfect, there was still something wrong.

Eventually, we figured out that it had to do with how the pickup was loaded, as well as how tube amps differ from solid state inputs. (This problem is not only common with wireless systems but all types of guitar signal buffers.)

Applying The Load
To solve the problem, we added a control that would enable the guitar tech to adjust the load so that the guitar would sound right. For this to work, the load needs to be applied directly onto the pickup.

In other words, if you connect the guitar to a buffer and then try to adjust the load, it will not work. This also means that it has no effect on active pickups.

When using a wireless system, the guitar is connected directly to the wireless transmitter, which then buffers the signal and sends it to the receiver.

Then, that output is either routed to the guitar amp, or a fridge full of pedals, or to the front of the stage so that it can go to the pedalboard and then back to the amp (Figure 1).

Because the wireless system is a buffer, the load must be placed in between the guitar output and the transmitter.

My company makes a device to do this called the Dragster. It’s designed to be attached to the guitar strap and then simply wired in series.

Even though this approach works very well, the last thing a guitarist wants is another widget on his strap.

A number of artists have also been implementing an old recording trick known as Reamping on the live stage.

When doing this in the studio, you basically take a dry track from the recording system, send it out line level to a Reamp device (“Reamper”), which then convert the balanced signal to an unbalanced one that is better suited for a guitar amp.

This enables the studio engineer to capture the performance and worry about getting the “ultimate” guitar tone later.

It works much the same for live. You take the output from the wireless receiver and send it through the Reamper to get the same effect (Figure 2).

By converting the signal, the wireless system sounds smoother and more natural. And when artists are happy, they perform better.

In The Field
Mix engineer Brad Baisley recently talked to me about his work with Reamping and related facets for noted country artist Clint Black, and he provided me with this overview:

“I started formulating my approach after a show where Clint expressed concern that his guitar tone was dull.

“The guitar tech, Kenny Barnwell, and I were also tired of battling noise emanating from the wiring to and from the pedal board. I knew that the 100 feet (each way) run of 1/4-inch cable was primarily to blame for both problems - not the modern RF equipment he was using.

“We added a Radial Headbone amplifier switching device that allows two different guitar amp heads to be used with a single speaker cabinet, and then also decided to try a Radial ProRMP Reamp box as well as an SGI interface to boost the signal.

“We were immediately happy with the result, both in terms of sonic quality and noise level. Clint noted that his guitar sounds much more natural, with smoother, more extended highs and fuller low end. 

“Another bonus is these devices have XLR interconnects. If the 100-foot cable loom we built is ever too short, I can dig into our audio spares and help the techs extend the wiring with no loss. And, locking XLR connectors add a considerable amount of security.

“The output on the Shure UR4D wireless receiver we use is 200 ohms, while pedals and amps are designed to see much higher impedance. The level of the output is also far higher than that of a guitar. This leaves you having to turn down the output on the receiver compromising on gain structure and signal-to-noise ratio. The Reamp solves this elegantly.

“We also often find that some local PA providers run cross-stage feeder on the downstage lip of the stage, so running long lengths of 1/4-inch cable parallel to it is just asking for noise issues. But with an all-balanced signal flow, that is now barely a concern.

“When setting up Reamping, first we make sure the levels on the wireless receiver are correct. The UR4D has a digitally controlled level trim (we have it set it at unity), and a Mic or Line level switch on the back for the XLR output (we set it to Line to send as hot of a a signal possible to the Reamp box). The companion UR1 beltpack transmitter has coarse and fine gain controls, and we also set these both at unity. 

“With the pedalboard connected to the amp through the SGI, we then plug directly into the pedalboard input using a short 1/4-inch cable. We do a sound check of the guitar, using our ears (and maybe an SPL meter or VU meter on the console), evaluating the loudness of the guitar.

“After that, we plug the guitar into the wireless beltpack, and connect the pedalboard to the wireless receiver through the Reamp. The level on the Reamp is turned way down, and we slowly bring it up until it matches the level noted earlier. 

“It’s a good idea to A-B back and forth several times to further dial in the level on the Reamp box. It puts us into a unity gain situation where the wireless (and cabling from it) will have the least effect on the guitar tone. We also have a Radial BigShot ABY bypass switcher on the pedalboard with a 1/4-inch plugged in and hidden under the pedalboard for a backup in case there are any issues with the wireless. It’s easily accessible and can instantly be activated using the switch.

“I’ve recently transitioned to a position doing monitors for Blake Shelton. We’re embarking on an eight-truck, full-production tour in 2012.  During a recent production rehearsal, Blake’s tech and I revamped the instrument wireless setup, moving all of the Sennheiser inbound RF into racks and networking it for easy coordination.

“In order to move the amplifiers off the deck for a clean look, we implemented four sets of Radial SGI and ProRMP (as described above) for acoustic guitar, electric guitars, and bass. So far, so good!”

Peter Janis is president of Radial Engineering, which last year purchased the Reamp brand and patents from inventor John Cuniberti.

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Sunday, January 15, 2012

Sensaphonics Upgrades IEM line With New Cable And “Crystal” Colors

Sensaphonics will be demonstrating two product upgrades at the 2012 NAMM Show, booth 6950, including a new coaxial cable system for the company’s 2X-S, 2MAX and 3MAX earphones.

In addition, Sensaphonics is introducing Crystal Series color options for all its custom-fit, soft silicone products.

The new cable system offers plug-in convenience, easy field replacement, a low-profile look, and added protection from failure. Its coaxial plug rotates 360 degrees, and memory wire inserts insure a snug, repeatable fit around the ears. The new cables are available in clear/silver and matte black.

In addition, Sensaphonics is introducing the new Crystal Series of translucent silicone colors. Available in crystal blue, crystal pink, crystal purple, crystal green, crystal yellow and crystal charcoal, these new colors are an eye-catching alternative to the clear silicone and solid colors that the company currently offers.

Crystal Series colors are available for all the company’s custom-fit products, including, for the first time, the 3D Active Ambient IEM System.

“Both these changes are significant, and address specific customer needs and desires,” notes Sensaphonics president and founder Michael Santucci, Au.D. “We’ve been searching for a secure cable system that can reliably prevent sweat from reaching the internal electronics, yet allows quick and easy field replacement. We’re very pleased to say that we’ve found it.

“The new colors are obviously more of a cosmetic change, but before now, it was impossible to source translucent colors in the specific formulation of soft-gel silicone that we insist upon. These new colors enable our lab technicians to see through the silicone to perform the final wiring operations, allowing us to offer the 3D Active Ambient in colors for the first time.”

Both the new coaxial cable system and Sensaphonics Crystal Series colors are available immediately.

Sensaphonics

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Friday, January 13, 2012

POSSE Audio Introduces Personal On Stage Sound Environment System

POSSE Audio has introduced the Personal On Stage Sound Environment (POSSE) system that interfaces with wireless earphone and instrument systems, allowing artists to independently set the level of their vocal microphone, instrument output, ambiance of the room and any auxiliary input(s). It will be on display at booth 3283 at the upcoming NAMM 2012 Show in Anaheim.

It is supplied with a gooseneck condenser mic for unelectrified instruments as well as a built-in phantom power supply, and also includes a built-in, line-of-sight chromatic tuner (powered by N-Tune), stereo instrument inputs, earbuds, belt box, peak limiter, and direct box.

Further, it comes with all necessary cabling (6-foot MIDI, 6-foot HDMI, 3-foot guitar) and carrying case.

“POSSE was originally designed to correct for monitoring problems that a performer encounters on the stage and in the studio,” states POSSE co-creator Randy Sharp. “We’ve all struggled with trying to communicate with the sound person, dealing with a poor monitor mix, or in instances where the audience or band mates are too loud. Being able to independently set the level of your vocal mic, your instrument output, the ambiance of the room and any auxiliary input(s), you can customize your monitors to a comfortable and performance enhancing mix.”

Highlights:
—Control stage mix or studio feed
—Sets up in minutes & drastically reduces sound check time  
—Zero latency with any digital system
—Hear the audience with built-in stereo mics
—Mic acoustic instruments with included condenser microphone
—Built-in, line-of-sight chromatic tuner (powered by N-Tune™)
—Stereo instrument inputs
—Convenient belt box
—Peak limiter protects hearing
—Built-in direct box
—Phantom power for condenser mics
—MP3 player
—Record performances
—Runs on AC adapter or battery power (9-volt battery not included)
—Comes with all cables
—Made in the USA

U.S. MSRP is $499.

POSSE Audio

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The Old Soundman: Approaches To Mic’ing A Piano Outdoors

Listen to a Diana Krall record. Al Schmitt is the man.

Dear Old Soundman:
Recently I’ve been doing many more concerts where concert grand pianos are being played (and in some cases two at the same time) by very talented musicians.

My question is directed at providing the very best sound reinforcement possible in an outdoor environment for these pianos. I’ve tried a number of combinations, and last year did several shows using two Shure SM81 condensers.

I placed each a few inches over the strings, essentially horizontal (aiming down the strings towards the keyboard), with heavy foam windscreens to reduce wind noise, one each over the low strings and one on the high strings, and then mixed them together at the console.

Although they worked reasonably well, it seemed like I never could capture the “fullness” of the pianos like I would expect to. I’d be interested in any opinions on a better combination. Even after doing a lot of searching in books and on the web, I haven’t been too successful in finding any really useful guidance.

I’ve gotten some ideas about using two larger diaphragm condensers to get a “fuller” sound. In that vein, I’ve been mulling over procuring some AKG-441’s to replace the SM81’s, potentially using them simultaneously along with a Barcus-Berry unit on each piano frame to help fill out the overall sound.

Based on your experience, do you have any thoughts on good microphone types to use, where to position them in the piano, and whether it would be appropriate to use some outboard dynamic effects units to highlight and enhance the overall piano sound in a live mix? And, if you recommend any added effects, what typical settings would you use?
Thanks!
Pete

Hey Pete -

I’ll start by asking, “IS THE PIANO WIDE OPEN? THAT’S A PRETTY BASIC PART OF THE EQUATION, BRO! IS IT ON HALF STICK? WHAT, AM I SUPPOSED TO BE A MIND READER?”

I have used, on pianos, every damn mic that exists on our lovely planet. I’ve experimented with using a dynamic mic on the lows and the condenser only on the highs. This can work well for monitor wedge purposes.

I will say this - you have to talk the people into going down to at least short stick. That way, you have half a chance, and I do mean half only, of creating a faint pressure area for your bass information to stick around in, so you can amplify it, instead of instantly dissipating out into the breeze.

Back when the bewigged ones were doing their minuets in the grand castles of Europe, THERE WERE NO STINKING MICROPHONES INVOLVED! No speakers, nothing. The purpose of the tall stick was to radiate sound all over the ballroom or theatre or bawdy house.

The tall stick is your enemy. Many tours go all the way down to closing the lid, and I favor that on a stage with a full band.

You will run into trouble with bigger diaphragm mics, because the low frequency on them is what you would normally high-pass at an outdoor gig, right? Look into a mirror and repeat a hundred times, “I am not on the orchestra dubbing stage at a major motion picture studio.”

The C-ducer is a beautiful thing (and not prohibitively expensive) - you slap it onto the bottom of the piano, and it is your buddy of all time for channeling some nice thumpy lows that you can totally control. I guess you could compress those channels, but I never have.

I rely on my “exquisitely musical” ear and instinctive riding of the faders. You know, like we used to do back when WE WERE INVENTING THE WHEEL, MY YOUNG FRIEND! Seriously, you need to be able to listen and move the mics and the C-ducer strips around until you get the most even coverage possible. Either device will naturally accentuate the notes closest to it.

Pianos are what separate the adults from the cubs. There was a night with Dr. John opening for the Neville Brothers, when the venue guy started his mix, then the Nevilles’ guy got involved, and finally the systems guy put them both to shame. He could really work that parametric. You can also dig yourself into a very ugly hole that way if you don’t analytically understand the piano’s frequencies.

Listen to a Diana Krall record. Al Schmitt is the man.

So, in my old age (don’t ask!), I try to think out what mic placement will work the best. An SM57 in the right place will sound better than a mega-buck mic in the wrong one.

Reverb? REVERB! OUTDOORS? Hang your head in shame. Just when you were doing so good. Little if any, pal of mine. Now go away.

On second thought, I’m not done.

Reverb! IF YOU LIKE THAT “DYING ELEPHANT” RESONATING FEEDBACK, JUST HEAP ON THAT REVERB! You kids. I need to wear my weight belt to take on the burden of what you do to my aching back.

Luv –
The Old Soundman

There’s simply no denying the love from The Old Soundman. Check out more from OSM here.

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Thursday, January 12, 2012

P.A. Plus Deploys Martin Audio Monitors For Canadian Country Music Awards

The Canadian Country Music Awards once again marked a celebration of some of the best talent in the genre, with numerous live performances for thousands on hand at Copps Coliseum in Hamilton, Ontario, in addition to being broadcast live on the CBC.

P.A. Plus Productions of North York, Ontario, handled audio production for the event, choosing to provide Martin Audio stage monitors for all performances.

“With 14 bands on a one-band stage, we had very short change over times between sets and one set of gear had to be acceptable to all of the different bands,” says monitor engineer Adrian Sterling. “The Martin wedge is very smooth and has a surprisingly high output for such a low profile box. At only 46 lbs., the LE1200S was the ideal choice for a show consisting of that many band performances on one stage.

“As it turned out, everybody was pleased with the Martin Audio wedges,” he continues. “They consistently cut through in an environment where you have the PA unusually close to the stage with a lot of low frequencies coming off the back of the system.

“Their low visual profile also kept our producers and the bands happy. It was especially important where the ability to have a Steadicam or dolly operator in front of the stage easily shoot up over the monitors is a really big deal. And, sonically, we had more than enough headroom for all the different acts on the bill.”

P.A. Plus came up with a space-efficient monitoring setup, combining a Yamaha PM5D and a DSP5D to contend with the large number of acts without taking up too much space.

“We’d use 48 channels for one band, then switch to 48 for the next band,” Sterling explains. “So we had one control surface because we had less space due to all of the television equipment and even though the stage was wider than most rock shows, we were pushed to the sides.”

Expanding on Martin Audio monitors, P.A. Plus systems engineer Mark Radu adds, “I’ve always been a big fan of Martin Audio. When we were looking for monitors, we evaluated everything and they were the clear winner. It was the perfect opportunity for us to get on board with them.

“They’re just better in terms of the sound, esthetics and performance of the box. And the horn is asymmetrical so you can move further back from the box and you’re still in the path of the horn, which is a big advantage. It’s like they sent a gun to a knife fight.”

In addition to Sterling and Radu, the P.A. Plus crew for the CCMA included system tech John Lacina, RF engineer John Sulek and PA system tech Neal McDonald.

Martin Audio

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Working Sound Reinforcement In The Wonderful World Of Celtic Music

As this genre grows in popularity, more and more audio engineers will be exposed to it for the first time, so it's helpful to know what to expect and how to approach Celtic music

It is not usual to encounter an entirely new musical genre, nor is it unusual not to have a clue what to do with it.

And that’s exactly what some in the live audio community are encountering with the burgeoning Celtic music scene.

Historically, Celtic music has been around a lot longer than America itself. In fact, Celtic music is the roots of bluegrass.

Irish and Scottish immigrants brought their traditional folk music with them and several generations later, it morphed into bluegrass in Appalachia and spread all over the south and east.

Somehow, most folks missed the fact that it came from across the water and assumed it was born here.

All that is changing, as is Celtic music itself. The Celtic community has always had its traditional folk music but only small samplings of it ever leaked out into the general public.

The change started in the British Isles with the folk revival of the mid 1970s and finally made its way to the US when, in 1995, Riverdance exploded onto the scene. The American public had never heard (or seen) anything like that before and tens of thousands of people really, really loved it.

It captured the imaginations of young girls who flocked to the dance studios to learn how to step dance. But more importantly, it gave musicians all over America something new and fresh, which they’ve now taken to their hearts and made their own.

There is something for everyone in the Celtic genre, which I break down into five categories: traditional folk music, bluegrass, balladeers, rock, and pipes and drums.

WHAT TO EXPECT
As these festivals multiply, it becomes more and more likely that audio engineers will be exposed to it for the first time, and thus it might be helpful to know what to expect and how to approach Celtic music.

We worked our first Celtic festival in November of 2001, when we were hired to do their main music stage because we had a reputation within the regional bluegrass community for knowing the difference between electric and acoustic instruments.

The festival was a real eye opener for us. There were a number of instruments we’d never seen or even heard of before. And how the heck do you mic a bagpipe?

But it was immediately evident that this music is predominately acoustic… except for the wailing rock bands.

The review of our work at the end of the festival was immediate. We were hired for the next year, to do all four stages.

In fact, we’ve regularly added new Celtic festivals in the region.

The musicians within the Celtic community are a tight-knit group and word gets around quickly which festivals have “the good sound.”

The festival coordinators really care what the music sounds like because, unlike most run-of-the-mill festivals, the public comes specifically to hear the music and they have a critical ear. They actually sit in chairs and listen.

And more than once, I’ve seen them confront the boisterous Guinness drinkers and tell them to move on or shut up.

This community is becoming aware that they don’t have to put up with inappropriate sound for their festivals.

It is amazing how many musicians have complimented us by saying, “Thank you for not mixing us like a rock band.” That is the prime key to successfully providing production for one of these events.

Flutes, mandolins, concertinas, violins and the like have to be treated with artistic finesse, because that’s the way these musicians approach their craft.

Don’t get me wrong – there’s plenty of room for rock ‘n’ roll – and I’ll get there in a bit.

Several things have struck me since we’ve been working in this market.

First, we never (and I actually mean that) encounter ‘wannabees’ on our stages. No matter which festival we’re working, every artist on every stage is proficient. I can’t say that in any other genre in which we work. The level of artistry is superb.

In fact, I have determined that the best fiddle players in the world are women in the Celtic market. We work with excellent fiddle players every week of the year in our regular gigs, but we are continually amazed at the female fiddle players we encounter at the Celtic festivals. Check out Eileen Ivers, Natalie McMasters or Bonnie Rideout for examples.

Second, you will encounter every instrument you can think of, and a few you’ve never even imagined. There’s room for everything in the Celtic scene, including every bluegrass instrument and a profusion of percussion – particularly the bodhran, or Irish hand drum – hurdy gurdys, six or seven different styles of accordion, and even Australian didgeridoos, as well as dozens of stringed instruments of various descriptions.

Even on the smaller festivals, I will typically fill my 40 input channels and usually double or triple up the instruments on them. Then guess what; one musician may play upwards of three of four instruments, changing from fiddle to bouzouki or bodhran in mid song – and maybe back again!

Another thing that typically occurs is that the festival coordinators will cram the schedule with acts.

Their challenge is that more artists want to perform than they have available slots for.

You will also usually see the same band perform more than once a day on your stage and usually on consecutive days as well, so you should be prepared to chart your consoles, as there is almost no concept of 30-minute set changes.

These shows require very hard work, but they’re an immense amount of fun and the performers are so appreciative of ‘good sound’ that it’s well worth the effort.

STYLES OF CELTIC MUSIC
As I stated earlier, I divide the genre into traditional folk, bluegrass, balladeers, rock, and pipes and drums.

The first group is almost always completely acoustic. Every year, thankfully, we find more and more artists installing pick-ups in their instruments but you’ll still encounter a healthy proportion of instruments you have to mic.

For these groups, it is wise to have a large number of condenser mics available. You’ll find everything from solo guitarists to seven or eight-piece ensembles with almost everyone singing. You’ll rarely see a drum kit but often there will be a bodhran (sometimes two or three) or other hand drum.

Loud is not an adjective to apply to these artists and generally, every musician is a soloist at some point.

That also presents the problem that you really have to be paying attention. There is no set-it-and-forget-it. The musicians will expect you to highlight each soloist as his or her turn comes.

The bluegrass groups are pretty straight forward as far as instrumentation. There are lots of upright basses, banjos, accordions, fiddles, guitars and vocals, as well as the occasional drum kit, but not often.

These groups are mostly just down-home fun. They are generally booked on the smaller stages of the festivals, and the engineer’s biggest challenge is to contain their exuberance to the venue. Banjos are just plain loud and it can be difficult to get a balanced mix without having the whole thing get out of control.

The balladeers are the singers of the traditional pub songs, nowadays mixed in with modern folk type ballads. Think Peter, Paul and Mary. The words are not incidental – they are essential.

If you dare mix the guitar, fiddle, flute or stand-up bass too loud and drown out the crystal clear vocals, you will certainly hear about it from musicians and audience alike.

Celtic rock is the newest aspect of this genre and it has won my heart. The first time I heard a Celtic rock band, my jaw hit the floor. In my mind, rock ‘n’ roll died the final death in 1995.

But I was wrong. It simply went underground, and now I’ve found it again but with such an unexpected twist. I had no idea bagpipes and fiddles could rock out so hard! The variety is incredible and I’ve heard influences from the Beatles to Pink Floyd.

To be fair, the Celtic rock bands spill easily over into the World Music category. It’s fresh, lyrical and driving and this is where you really can ‘mix ‘em like a rock band,’ because that’s exactly what they are.

But don’t kid yourselves. These guys have just as much musical talent and savvy as any traditional fiddle player. Indeed, after the festival you will most likely find them in the hotel bar taking an equal seat in the ceili circle with the rest of the musicians.

“What’s a ceili?” you might ask. On the evening before a festival begins, and each evening during the event, you will almost always find a rather large group of the performers (and some avid attendees) gathered together in the nearest drinking hole having a grand old jam session.

It’s a great place to sit back and listen to some wonderful totally acoustic Celtic music without having to work.

Lest I forget, the fifth category would be pipes and drums. You really don’t have to worry about what to do with them. A chorus of bagpipes speaks for itself.

It’s amazing, however, at how many people will flock to a performance of a group of pipers and stay for the entire set.

A FAMILY AFFAIR
Celtic festivals are almost unanimously family affairs and should be approached with children in mind, because they will be everywhere. The production company that dresses badly, comes with an attitude and isn’t flexible won’t be asked back.

On the other hand, if you’re looking for a challenge and lots of fun, and exercise your skills at mixing, you’ll win the hearts of the musicians and word will get around.

Our biggest festival is the North Texas Irish Festival, held the first weekend in March at Fair Park in Dallas. It’s reputed to be the largest (and they proudly say the best) Celtic festival west of the Mississippi.

It lasts three days, with Saturday being the big attendance day, and has seven music and dance stages. We’ve had 20,000 pass through the gates on a Saturday alone.

My point is that these really are viable festival events and if you like mixing great music in a congenial atmosphere, this is an excellent genre to get into as long as you have the right people with the right skills to service them.

And for the women in our readership, men really do look great in kilts!

Teri Hogan is co-owner of Sound Services Inc., a sound company based in Texas. Also be sure to check out Teri’s related article, Accordions & Didgeridoos: Microphone Techniques For “Exotic” Instruments

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Auralex Unveils New Portable & Stand-Mountable ProMAX Panels

Auralex Acoustics has introduced new ProMAX Panels — stand-mounted, portable StudioFoam absorbers — which will be on display at the upcoming NAMM 2012 show in Anaheim, booth 6798.

The new ProMAX panels are light weight yet highly effective absorption treatment for “run-and-gun” recording and performance applications such as studio rentals, live events and temporary recording.

They can be used in any location where mounting acoustical treatments to the wall are not possible or ideal.

The flexible absorption panels are simple to set up and transport and easily assembled and disassembled for convenient storage.

ProMAX Panels can be grouped together to form a portable vocal booth on the fly, and they can also be positioned around a drum kit to “tune” room sounds in recordings and live performance venues.

With extension up to eight feet high, the panels are outfitted with an adjustable contour for precision positioning.

“Based on the success of our MAX-Wall Mobile Acoustical Environment, we are proud to present this cost-effective portable absorption solution to the NAMM market,” says Eric Smith, founder and president of Auralex Acoustics. “As an extremely flexible acoustical solution, the ProMax is ideal for musicians and on-the-go recording applications.”

Auralex Acoustics

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